Legendary disco mixer John Morales—who, over the course of his career, has worked alongside luminaries such as James Brown, Barry White, and The Temptations—is soon releasing the third installment of his The M+M Mixes compilation series. The forthcoming 21-track, triple-CD set—which is preceded by two double-12″ releases that are out now—features some of Morales’ visionary work on songs such as Barry White’s “Never, Never Gonna Give You Up,” a rework of Marvin Gaye’s “I Want You,” and Loose Joints’ “Is It All Over My Face?” The collection is said to be “coming soon” via BBE; and to help listeners wrap their heads around the extent of Morales’ work and contributions toward the shaping of soul, funk, and house music as we know it, an interview with the living legend himself as well as a preview of his latest mix installment—complete with commentary from Morales himself—can be found below. The full tracklist and previews of the music set to drop on The M+M Mixes Volume 3 are available here.

All month long, Southampton singer/producer Tropics has been teasing us with samples from his forthcoming Home & Consonance EP—first with the emotional “Don’t You Know” and then with a low-slung remix by Bristolian producer Troy Gunner—and now the EP can be heard in its entirety. British outlet Five Easy Pieces has pushed back the EP’s original release date about a week to April 29, but before then, all four of its thoughtful and well-produced songs can be streamed via the player below.

Pieces of “Xingfu Lu,” the as-yet-unreleased new single by Hyperdub boss Kode9, have been floating around in mixes and YouTube players for almost a year now, but the record will finally see its official release on April 29. Before then, the longstanding artist born Steven Goodman has seen fit to share the entirety of his track online. Kode9’s latest also precedes the May 20 release of his 37-track mix for Rinse—which “Xingfu Lu” is right in the middle of—and according to his Twitter, “I’ve got another single out on Rinse in May/June.” The skittering, juke-fueled sounds of Goodman’s first upcoming single can be heard below.

Tender SoCal beatmaker Baths (a.k.a. Will Wiesenfeld) has shared a second leak from his forthcoming sophomore LP, Obsidian, announcing along with it the dates of an upcoming US tour. “Ironworks” applies a soft piano melody to the producer’s usual brand of crackling beatwork while Wiesenfeld floats an understated falsetto over the top of his instrumentation. Below, the song can be streamed before Baths’ new album is released on May 28 via Anticon, and before he embarks on his month-long US tour, the dates of which can also be found below.

5/23 – Portland, OR – Holocene*
5/25 – Vancouver, BC – Electric Owl*
5/26 – George, WA – Gorge Amphitheatre
5/27 – Missoula, MT – The Palace Lounge*
5/28 Boise, ID @ Knitting Factory #
5/29 Salt Lake City, UT @ Salt Air Theatre #
5/30 – Boise, ID – Neurolux*
6/1 – Denver, CO – Bluebird Theater *
6/2 – Omaha, NE – The Waiting Room *
6/5 – Minneapolis, MN – Triple Rock Social Club*
6/6- Milwaukee, WI – Turner Hall*
6/7 – Chicago, IL – Metro*
6/8 – Detroit, MI – Magic Stick*
6/9 – Toronto, ON – Horseshoe Tavern*
6/10 – Montreal, QC – Le Belmont*
6/12 – Cambridge, MA – The Sinclair*
6/13 – Philadelphia, PA – Union Transfer*
6/14 – Washington DC, – Black Cat*
6/15 – New York, NY – Webster Hall*
6/16 – Richmond, VA – Strange Matter*
6/17 – Atlanta, GA – The Masquerade $
6/19 – New Orleans, LA – Hi Ho Lounge*
6/20 – Houston, TX – Fitzgerald’s*
6/21 – Austin, TX – Mohawk*
6/22 – Dallas, TX – Club Dada*
6/24 – El Paso, TX – The Lowbrow Palace*
6/25 – Tucson, AZ – Club Congress*
6/26 – Phoenix, AZ – The Crescent Ballroom*
6/27 – San Diego, CA – Casbah*
6/28 – Los Angeles, CA – El Rey Theatre*
6/29 – San Francisco, CA – Great American Music Hall*

# – w/ The Postal Service
* – w/ Houses & D33J
$ – w/ D33J

In 2011, photographer Sebastian Mayer was embedded on the front lines in Libya just as the Arab Spring was beginning its downward ascent. He had been in Afghanistan as a frontline war photographer a year before, and found that his photographs, while terrifying to look at, lacked the other component that made being in combat so visceral and encompassing: sound. Once in Libya, he rigged a Samson H4 recorder and hung the microphone out of his jacket. Meyer was in Ras Lanuff one day when he came within yards of a bomb dropped from a pro-Gaddafi warplane, and captured the terrifying sound on tape. While it’s an hair-raising document all on its own, Matthew Herbert, no stranger to playing with unusual sounds himself, decided to use the 10-second recording of the bomb whistling through the air and going off as the sole sound source for his new record, The End of Silence.

The brief clip, emailed to Herbert in 2011, was then stripped, mined, and explored. As Herbert notes in the press release, “I want to freeze history, press pause, wander around inside the sound. [I’m] trying to understand its component parts, wondering why it was so scary when I had never actually heard any bomb firsthand.” The recording was then tinkered with and improvised with over the course of three days in the summer of 2012; Herbert’s all-electronic band—Yann Seznec, Tom Skinner, and Sam Beste, along with Herbert himself (pictured above)—programmed, sequenced, and deconstructed the recording in a barn outside of Hay-on-Wye, Wales. In addition, Herbert also set up so-called “witness mics,” capturing birdsong, wind, and various animal sounds—like a dog barking—to counter the relentless drone that comes from slowing an explosion to a snail’s pace. The End of Silence features three lengthy parts as part of a longer suite. Below, “Part One” is available to stream before the record is released on June 24 via Herbert’s own Accidental imprint.